A world where all people can enjoy human rights remains an unrealized vision for many. However, we do not need to wait for others to grant us these rights. Instead, we can cultivate personal relationships with our rights and liberties by actively engaging with them through art-based practices.
Braiding Sweetgrass offers points of relation to queerness, dizziness, and their intersections, by addressing the importance of the collective and lived reciprocity, talking about how plants and forest are teaching us about the destructive and constructive elements of change, and by exploring the possibilities of standing at the brink and those of falling.
With psychoanalysis, we should listen to dizziness: to find rhythms and tempos of the unconscious. Other senses in the nonsense. Triggering — dizziness allows talking; and a change in perspective, if heard. Colliding, conflicting trajectories in intense multiplicity could lead to the shape-shifting of lives, and institutions. What can be heard in Yukio Mishima’s and Gustav von Aschenbach’s dizziness?
We use the term coalescence to describe a moment where a multitude of actors come together, act together, and merge into a collective movement, body, or unit. The resulting situation is a shared but divergent somatic, spatial and cognitive experience of togetherness that is experienced as fertile and generative by all or most of the collective.
Until the end of 2023, "Navigating Dizziness Together" is accompanying the "Action for Sustainable Future hub", who supports projects on sustainability at the intersection of science, society, and art.
An exploration of queering as a practice within dizziness, carried out mainly by asking questions like: Can queering put the power system of heteropatriarchy in a state of dizziness? Are queer bodies dizzier than others?
If we look at the history of analogue cinema, of cinema projected from film, perhaps we can take the question of vertigo as a red thread.
This is not a pure design approach, since I grant myself the full freedom of artistic development, not knowing where it will lead, but at the same time I have the feeling that it’s also about why I’m on this planet, and that I must give meaning to that. L’art pour l’art is not enough for me, instead I would say: L’art pour le sens.
Ruth Anderwald, Leonhard Grond, Sergio Edelsztein, Jeanne Drach and Laura Brechmann create a series of podcasts that is at the same time a sound sculpture. In this way, the work can be perceived individually and portably and as an audience in a specific setting.
It is only when we are blind that experience is possible, Müller says, or in other words, when we take the hand off the banister, as Hannah Arendt has claimed for thinking. In that sense there is no writing that does not involve the affirmation of a certain headlessness, of proflection or precipitancy.
Dizziness can be understood as a resource but also as a somatic state. In this conversation, the individual research fields intertwine with artistic, philosophical, medical, ethnographic, or architectural sources and case studies.
My definition of a novel is therefore a practical one: I believe in the usability (Nutzbarkeit, Brauchbarkeit) of novels, be it as inspirational sources, as sources for new ideas, new perspectives, or even as simple instructions. To this end though, dialogue is essential.
That we are currently faced with this “other side” situation fits very well with your ideas and parameters. You can reconstruct what we interpret as real into a different reality.
In a public conversation, the artist Jonathan Horowitz and the photographer Wolfgang Tillmans will share insights on their artistic and curatorial work. Starting from Horowitz’ exhibition We Fight to Build a Free World! at the Jewish Museum in New York, they will investigate the potential art offers to fight racism and anti-Semitism.
Our research shows us that, on the contrary, knowing another narrative does not interfere with identifying with the one from your family or collective. When you get to know the complicated and complex world, you can become even more confident within your own story of the world.
As the artistic research project Navigating Dizziness Together started mid-May, this video-lecture is an introduction to the field to provide background for the definition of dizziness and further proceedings of the artistic research.
Dizziness–A Resource? Two hypotheses are hidden in the title of this artistic research. First, in this context, the term dizziness is understood in a broader sense. Second, the artistic research claims that states of dizziness should be considered a resource.
Indeed, dizziness is more than feeling dizzy. Contributions by artists, researchers from experimental sciences as well as cultural studies, and philosophers trace dizziness not only as a phenomenon of physiological, emotional, and cognitive processes but highlight the transversal nature of the phenomenon.
Words exist because of meaning.
Starting with the attempt to call the phenomenon of dizziness by its proper name, this book brings together diverse voices considering the potential of this in-between state from multiple perspectives and in view of different disciplines.
Writer Anna Kim's lecture retraces the life of photographer Edith Tudor-Hart (née Edith Suschitzky 1908, in Vienna, died 1973 in Brighton), who worked as a Soviet agent and photographed workers and street children from Vienna and London to give a face to poverty and social disadvantage.
The book 'The Arsenic Eaters' investigates the widespread historical belief that the consumption of arsenic, one of the most potent mineral poisons, is beneficial to one’s health. Accordingly, many poison eaters were found among rural population in the eastern parts of the Alps
‘Dizziness’ implies notions of physical and emotional disequilibrium, staggering, confusion, uncertainty, and turmoil. This article discusses dizziness as a possible resource for creativity including the concept of the ‘compossible space’.
Keeping our bodily balance is a continuous performance, including the effort to keep the erect posture against gravity. However, since this performance remains strictly subliminal we become aware of the state of equilibrium only in the event of disruption: in the very moment we loose our balance, stumble and fall, or more generally, when the relation between the body and the surrounding world is irritated, disturbed, or interrupted as it is characteristic in the state of vertigo.
Based on the assumption that there is a human tendency toward seeking ecstatic feelings and risk, resulting in dangerous outcomes and potentially addiction, Gerald Koller trains individuals in local communities, citizen organizations (COs), and regional government programs to develop responsible behavior in risky settings.
This study investigated work-related behaviors and feelings in the process of creating art. In a collaborative effort by creativity researchers and artistic researchers, we invited artists to create a short film or video for an international art competition and monitored them for 2 weeks while producing the artwork.
If one notes the amount of staggering performed or stammered by characters in Waiting for Godot, it can be quite surprising. In fact, few plays contain characters that spend as much time stumbling or tottering about the stage. It is almost as if they are sailors in the midst of a violent squall, but this is not the case.
There is a lot of “queering something” these days, although Queer Theory is certainly not yet part of the major scientific or philosophical discourse. I will argue that dizziness is not just another concept, which needs queering, but that dizziness is fundamentally linked to queerness.
These are the recordings of our one-day symposium, that brought together artistic and cross-disciplinary research on dizziness, with speakers from the fields of philosophy, visual arts, creativity research, psychbiology, medicine, architecture and cultural studies in the form of screenings, artists’ talks, lectures and discussions.
How did we succeed to make dizziness a sort of commonplace? After several cross-disciplinary gatherings in the course of the research project ‘Dizziness–A Resource’, it became clear that the introduction of the concept of dizziness into divergent research fields created a compossible space, formed by our common interest in the experience of and reflection on dizziness.
‘Dizziness’ is an English translation of the German word ‘Taumel’, which implies a broader semantic field including notions of physical and emotional disequilibrium, staggering, confusion, uncertainty, and turmoil.
But what characterizes these people who defy norms, who disregard conventional boundaries, institutionalized norms, and accepted reward and evaluation systems – people who, in fact, not only view conventional boundaries as ridiculous but do not see boundaries to start with?
My agents of confusion!
The Atlas depicts a short moment of balance.
A central goal of the artistic research project ‘Dizziness–A Resource’ is to gain a better understanding of the role of dizziness in the artistic process. As one approach towards this goal, Ruth Anderwald + Leonhard Grond teamed up with psychologists from the University of Graz to conduct an empirical investigation.
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